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Brad Goreski wasn’t always the beacon of style he is today. In our Media Beat interview, the star of It’s a Brad, Brad World revealed that he had to overcome a lack of access (he’s originally from a tiny town in Canada) and the doubts of others to climb to the top. One college career counselor, in particular, was quite taken aback by a young Goreski’s outsize ambition.

“She’s like, ‘Okay, so what do you wanna do?’ And I’m like, ‘I’m gonna get an internship at Vogue in New York.’ And she was like, ‘Excuse me?’ And I’m like, ‘I’m gonna get an internship at Vogue. Is that possible for me to get credit and go to New York?’ And she was like, ‘If you get the internship…’ And I was like, ‘Okay!’” Goreski told us. “And I came back later with all my paperwork, and she was like, ‘Are you really going to New York?’ I’m like, ‘Yeah! I’m going to work at Vogue!’”

Now, with a hit show on Bravo and Born to Be Brad: My Life in Style So Far due in bookstores in March, the taste maker credits those early work experiences for his success.

“Internships are so instrumental but, not only do you need to get them, you need to work at them,” he said.

Part 1: Breakout Styling Star Brad Goreski Takes Us Inside His Brad, Brad World
Part 2: Brad Goreski Sets the Record Straight on His Relationship with Rachel Zoe

Fans of The Rachel Zoe Project may have noticed that the star stylist doesn’t take kindly to staff members striking out on their own (and isn’t above launching smear campaigns when they do so). Her former protégé, Brad Goreski, found this out the hard way. He appeared to part with Zoe on good terms toward the end of season three of her reality series, but by season four, she was lobbing criticisms and allegations of client-stealing at her once-beloved style director. In this second segment of our Media Beat interview with Goreski, he opens up about his relationship with Zoe—or lack thereof. “It’s strange that it turned into this whole thing, because to me, it’s a very logical thing to assist somebody and then, after a certain amount of time, choose to leave ad go go off and do your own thing,” says the star of the new Bravo series It’s a Brad Brad World. “I think that’s a really natural progression.” As for the alleged client swiping, Goreski sees this as a non-issue. “Can you really steal people, and especially people who are celebrities?” He asks. “They choose who they want to work with.”

Part 1: Breakout Styling Star Brad Goreski Takes Us Inside His Brad, Brad World
Part 3: How Brad Goreski Got an Internship at Vogue

Even if you don’t know Thom Browne from Tom Ford, you probably recognize the bespectacled visage and signature coiff of Brad Goreski. The dapper Canadian was the breakout star of Bravo’s The Rachel Zoe Project, which documented his rise from steamer-wielding errand boy to Oscar-night styling protégé, and now he’s striking out with a celebrity-styling career and addictive reality series of his own. It’s a Brad, Brad World, which airs Monday nights on Bravo, follows Goreski as he starts a styling business and trades quips with his longtime boyfriend, TV writer and producer Gary Janetti (Will & Grace, Family Guy). A note to design fans: glimpses of the couple’s midcentury mod home in the Hollywood Hills, along with the show’s snappy and saturated setting shots, are reason enough to tune in. “We decided we would go on a crazy ride, a wild adventure, and hopefully the audience will come along with us,” Goreski tells us in this first segment of our three-part Media Beat interview. “I’m not exactly sure what a ‘Brad, Brad World’ is yet—it’s just that you never know where you’re going to end up.”

Part 2: Brad Goreski Sets the Record Straight on His Relationship with Rachel Zoe
Part 3: How Brad Goreski Got an Internship at Vogue

Get ready for MOCA TV! The Museum of Contemporary Art, Los Angeles has teamed with YouTube to create a new video channel for fresh contemporary art and culture programming. The online programming venture, part of YouTube’s new original programming push, is expected to debut in July with an identity designed by L.A.-based Studio Number One. “Contemporary art is the new international language, unifying leading creators across art, music, fashion, film, and design,” said MOCA director Jeffrey Deitch, who has always struck us as a natural VJ. “MOCA TV will be the ultimate digital extension of the museum, aggregating, curating, and generating the strongest artistic content from around the world for a new global audience of people who are engaged in visually oriented culture.” Slated for the MOCA TV line-up? Global art news briefs, programs focused on the latest collaborative projects (art and music, art and fashion), looks inside artists’ studios, the street art beat (natch), and an interactive education series called MOCA University. The musem has tapped social media company theAudience to help get the word out about MOCA TV as the launch approaches.

Deck the halls with LCWs (a rare rosewood version of the iconic chair sold for $7,500, not including commissions, last week at Sotheby’s), because ’tis the season for the television debut of Eames: The Architect and the Painter. Jason Cohn and Bill Jersey’s new documentary about the husband-wife design powerhouse of Charles and Ray Eames airs tonight at 10 p.m. on PBS (check local listings) as the 25th anniversary season finale of American Masters.

“Modern design was born from the marriage of art and industry,” notes narrator James Franco at the beginning of the feature (and in the trailer, below). “The Eames Office was born from the marriage of Ray Kaiser, a painter who rarely painted, and Charles Eames, an architecture school dropout who never got his license.” For this first documentary to be made about the couple since their deaths, Cohn and Jersey sought to look beyond the giddy publicity photos and molded-plywood marvels to explore the private world of the Eames Office and the designers themselves. They plunged into archival material ranging from films to love letters and interviewed family members—Charles Eames’ daughter Lucia, and grandson Eames Demetrios—as well as Eames Office alumni such as Jeannine Oppewall, Deborah Sussman, and Gordon Ashby. The Architect and the Painter mixes mesmerizing clips from the Eames’ films and exhibitions for clients like IBM, Polaroid, and the U.S. government with never-before-seen interviews and behind-the-scenes footage of the designers at home and in their studio. Meanwhile, Herman Miller has launched a delightful companion website for those who want to immerse themselves in all things Eames before or after viewing the documentary.

“They’re leggings,” explains designer Angelo Lambrou, fondling a mud-colored puddle of jersey. “They’re awful,” concludes Joe Zee. The peppy Elle creative director doesn’t pull any punches in All on the Line, the reality-TV series in which he attempts to help fashion designers rescue their ailing businesses. In the show’s second season, which premieres tonight on Sundance Channel, Zee kicks off each episode with a kind of sartorial quickfire challenge: the embattled designer must whip up something on the spot (or at least in 72 hours) for a special guest style arbiter such as Rachel Roy or Mark Badgley and James Mischka. Having conquered that initial task, it’s onto the main event of creating a capsule collection for the scrutiny of big-time buyers, but not before Zee steps into the studio to offer guidance on a triumphant relaunch. The first season saw one featured designer seal a deal with Nordstrom, but success is anything but assured. In tonight’s season opener, Lambrou, who has carved out a niche in the custom bridal business, struggles at every turn. Midway through the episode, Zee pronounces his designs “complicated but still boring.” We won’t spoil the ending for you, but be warned: powder-blue velvet is involved.

Fashion and costume designer Chris March started sewing at age nine and has long been fascinated by garment construction, but what are the origins of his over-the-top aesthetic? “My mother was on Let’s Make a Deal,” the Project Runway alum and Mad Fashion star tells us in this final installment of our three-part Media Beat interview. The wacky game show proved to be a potent source of inspiration for the young March. “And so I was always fascinated by Let’s Make a Deal and all the people in their costumes,” he says. “The bigger and crazier ones always got more attention.” Click below to hear more about March’s career development, whether you can expect to see his name on a fast-fashion line anytime soon, and what he has in common with I.M. Pei.

You can also view this video on YouTube.

Part 1: Inside Chris March’s Madly Fashionable World
Part 2: Chris March on Project Runway and the Power of Television

Fashion and costume designer Chris March learned a lot from Project Runway. Reaching the final round of the beloved reality competition show during its fourth season was not only a major personal and professional accomplishment but also a crash course in the power of television. “The second the show started, I started getting all of these e-mails, and then I would get a million hits a month on my website,” he tells us in this second installment of our three-part Media Beat interview. “I had no idea what television could do.” Click below to hear more about his experience on Project Runway, why he considers the show a “pop culture phenomenon,” and what it all means for the future of fashion design.

You can also view this video on YouTube.

Part 1: Inside Chris March’s Madly Fashionable World

You may know Chris March from season four of Project Runway, when he stole the show with bold designs, snappy yet endearing one-liners, and innovative materials (who needs traditional textiles when you have human hair?). Since then, the San Francisco native has kept busy designing outrageous costumes and one-off creations for everyone from Cirque de Soleil performers to Meryl Streep, who wore a Chris March-designed dress to last year’s Academy Awards. His latest project is Mad Fashion, a new Bravo series that follows March and his colorful crew as they create custom ensembles for the likes of actress Jennifer Coolidge, shoe designer Ruthie Davis, and, on tomorrow’s episode, New York nightlife promoter Susanne Bartsch. We sat down with March recently for Media Beat, and in this first segment of our three-part interview, he offers us a peek inside his creative process and his New York-based design studio, and reveals the secret that is hidden in all of his designs.

You can also view this video on YouTube.

Part 2: Chris March on the ‘Pop Culture Phenomenon’ of Project Runway and the Power of Television
Part 3: Wednesday, March talks about his start in the fashion biz.

Bill Powers purchased his first work of art—a Terry Richardson photo of “ToeJam the Clown”—in 1998, shortly after taking the editorial helm of Blackbook. Since then, he’s built an art collection that includes works by Richard Prince, Elizabeth Peyton, Dana Schutz, and Irving Penn; opened New York’s Half Gallery with partners Andy Spade and James Frey; and co-founded Exhibition A, the online art hub that offers affordable editions by some of the big names on Powers’ own walls. Tonight he is back on Bravo to dispense more good-natured yet constructive criticism on the cable network’s Work of Art: The Next Great Artist. So which of the new contestants should we keep an eye out for? “We’ve got Michelle, who has worked for Marilyn Minter and had also been an assistant to Josephine Meckseper. It’s interesting to see someone with that background,” he says. “Or Kathryn, who went to Yale grad school for photography, versus a toymaker, The Sucklord. I think it really is a nice spectrum.” We chatted with Powers about the reaction to Work of Art, the judging process, and what’s in store for the new season (KAWS!).

1. How would you characterize the reaction—particularly that of the art world—to the first season of Work of Art?
I understand people’s skepticism. I mean, it is reality TV, right? Personally, I was really flattered at how many contemporary artists I admire watched the first season, whether it’s Cecily Brown or Rob Pruitt or Jeff Koons or Rachel Feinstein. That meant a lot to me that those people would watch and get into it. People said that the show reminded them a lot of grad school and that a lot of the personalities and the work that was produced was reminiscient of that. There’s always somebody getting naked. There’s always somebody tackling social issues. And there’s a photographer, who’s probably better suited to commercial photography, making fine art pictures.

2. Are there certain aspects of season two that you think will surprise people?
I was always surprised by the range of materials employed, and what somebody can make in four or five hours is pretty impressive. And I would ask viewers to remember that it’s a lot of pressure to say, “OK, here’s the theme of the show this week, now make something and we’re going to show it tomorrow as if we’re picking people for the next Venice Biennale.” I feel like people at home or on blogs sometimes can be looking at this work as if someone had a year in their studio to make it. They have five or six hours sometimes to make what you’re seeing. I know that’s part of being a part of a competition series, but to see something that you like and that someone made in a few hours? Most working artists today spend weeks if not months putting together a piece. I think that people are, if I can borrow a term from Jerry [Saltz], “demonstrating radical vulnerability” by their participation on the show.
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